Page 79 - Hamlet: The Cambridge Dover Wilson Shakespeare
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lxxii              H A M L E T

                that he did not join the  King's  company till three years
                after  Shakespeare's  death. That,  however,  is no  reason
                for  doubting that Betterton inherited the tradition  of the
                original  performances.
                  Hamlet was one of the plays allotted to D'Avenant  for
                the  Duke's  company  by the  warrant  of  December  12,
                1660; but there is no record of his producing it before the
                summer  of  1661.  Pepys  saw  it  at  'the  Opera'  (the
                playhouse in  Lincoln's  Inn  Fields)  for the  first time  on
                August 24 of that year, 'done with  scenes very well, but
                above all, Betterton  did the prince's part  beyond imagi-
                nation.'  He saw it again on November  27 and  Decem-
                ber  5, 1661, on May  28,  1663  ('giving  us fresh  reason
                never  to  think  enough  of  Betterton'),  and  again  on
                August  31, 1668, when  he was  'mightily  pleased  with
                it;  but, above all, with Betterton, the  best part, I  believe,
                that ever man acted.'  Pepys had  a  great admiration  for
                Hamlet.  On  November  13,  1664,  he  'spent  all  the
                afternoon  with  my  wife  within  doors,  and  getting  a
                speech out of Hamlett, To  bee or not to bee" without
                                     "
                book.'  A  setting  of that  soliloquy to  music for  a  single
                voice  (possibly  composed  by  Matthew  Locke  and  ar-
                ranged  for  the  guitar  by  Cesare  Morelli)  is among the
                Pepys  manuscripts  at  Magdalene  College,  Cambridge;
                and it has been  (perhaps not altogether  fancifully)  sug-
                gested that the  music may to  some extent represent the
                intonations given to the speech by Betterton on the stage
                (the corruptions in the text may or may not be due to the
                same source).  Evelyn did not share Pepys's  enthusiasm.
                When he  saw the  play on November 26,1661, he only
                remarked that 'the old plays begin to disgust this  refined
                age.'  But Pepys rather than  Evelyn seems, in this case,
                to speak for the age, which was slow to show its disgust
                with  Hamlet.  'No  succeeding  Tragedy  for  several
                Years,' wrote Downes, 'got more Reputation, or Money
                to the Company than this.'  Betterton's acting of the part
                was praised  by Downes, by Colley Cibber, by Rowe, by
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